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"Before the Paris Fire: Projecting the Cinematograph in London from 1889-4th May 1997" is the fourth volume in the London County Council and the Cinematograph series, although it is chronologically earlier than the other three volumes. The book provides a comprehensive guide to cinematic venues in London during this time period, with images of venues, artifacts, and important figures. The author, Tony Fletcher, presents the information without critique or analysis, allowing readers to use it for their own research. The book is organized into two parts, with appendices that include a filmography and a bibliography. It covers not only the UK but also developments in France, Germany, and the United States. The second part focuses on specific venues and their cinematograph exhibitions, while also discussing the developments in cinematography at the time. The book offers a case study of entrepreneurship in a capitalist society. While a venue index might be helpful, the raw nature of the contents allows readers to explore various topics in depth. [Extracted from the article]

Is it possible for today's man to return to the historical past several centuries or millennia and find himself among his ancestors as shown in various science fiction films such as the cult British series "Outlander" when the main heroine enters the hollow of the tree and returns in the middle ages. Is it possible to travel into the future several centuries or millennia into the future as shown by Herbert George Wells in the science fiction novel Time machine or the French film "Les Visiteurs" when the heroes of the Middle Ages travel to the future. Are there parallel worlds or multiverses in which one day future generations will travel only with advanced technologies at the speed of light like in the cult TV series Wars or Dr.No? For now, these impossible feats are possible only on movies, but scientists like Albert Einstein, Nikola Tesla, and especially Everett Hughes, Stephen Hawking, theoretically explained the probability of such hypotheses. The concepts of time travel and parallel worlds are phenomena that are mutually related and interdependent both in literature and cinema, and in other scientific cultural-artistic or entertainment works. They complement and enhance each other because the phenomenon of time travel cannot be effected if there is no other world, even assuming that it is simply a return to the past or travel to the future. In this review, we will only focus on the phenomenon of time travel. This paper is part of the research dedicated to the project Time Travel and Parallel Worlds in Cinema integrated in my doctoral thesis with the same title. [ABSTRACT FROM AUTHOR]

Copyright of Perífrasis. Revista de Literatura, Teoría y Crítica is the property of Universidad de los Andes and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This paper examines the construction of a dominant discourse criticized by parody in film. The construction of Javanese cultural discourse has been the dominant discourse since the beginning of the Indonesian state; even the meanings born from the construction of the discourse remain to this day. Javanese cultural discourse refers to all forms of discussion related to cultural aspects in Java, including values, norms, traditions, art, language, and local wisdom of the Javanese people. Nagabonar's film deconstructs Javanese discourse with historical parody in its story. This research is expected to open up another way of thinking from the dominance of Javacentric thinking. Two approaches are used to recite and criticize Nagabonar's film as text: cinematographic theory and deconstruction. First is the mise-en-scene approach and staging in cinematographic theory, while the second is the theory of deconstruction to see what history hides or forbids and recasts a discourse construction of thinking that was previously marginalized or even alienated. This study aims to show the meaning of criticism in Nagabonar films against Javacentric dominant discourse through the deconstruction of film texts. Critics of this film tend to open questions about the concept of Indonesian nationalism. [ABSTRACT FROM AUTHOR]

The paper proposes an analysis of literature’s role in the current Romanian cinematographic context, starting from two case studies: After the Hills (2012) by Cristian Mungiu, based on the novel Spovedanie la Tanacu by Tatiana Niculescu Bran and Moromeții 2 (2018) by Stere Gulea, based on the novels Moromeții vol. II and Viața ca o pradă... by Marin Preda. The approach aims to carry out a comparative analysis regarding both the role played by the literary work in the cinematographic production as well as the valorization of the literary work through the film. In the current socio-cultural context, the artistic impact of a film creates the cultural premises for the propagation of a literary work to several types of audiences. Artistic products derived from literary works develop a series of issues regarding adaptation methods, aesthetic interpretation, and even artistic interference regarding the assimilation of a literary piece in relation to the cinematographic production. The paper presents two case studies to analyze how the literary work appears either as an adjunct to the cinematographic production or as a central element of the filmographic artistic exposition. These case studies are used to determine the role that the film industry has in the processes of internationalization, propagation, and even popularization of a literary work in a Romanian consumer society, which is dangerously far removed from the book industry. Thus, the scientific approach proposes an exploration of literary valorization through cinematographic artistic products in order to popularize and mediate literature in today's society. [ABSTRACT FROM AUTHOR]

Copyright of ANIAV: Revista de Investigación en Artes Visuales is the property of Universidad Politecnica de Valencia and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The purpose of the paper is to introduce the concept of data cinema, referring to films that have used the theme of data as a narrative tool to illustrate the changes in contemporary society. This type of cinematography is interesting for three main reasons: due to the challenges in visually representing the concept of "data", because data cinema spans across diverse genres and styles, and because it doesn't solely rely on a science fiction-based imagery but also embraces hyperrealistic storytelling. To illustrate this transition, a quantitative analysis will be conducted on films addressing this theme starting from 1960, aiming to observe the changes (genres, treatment, themes) that have characterized this type of cinematography. The approach employed adopts a materialistic perspective towards the collective imagination, seeking concrete empirical references to study the formation of such imagery. [ABSTRACT FROM AUTHOR]

A substantial amount of literature has shown that the input flooding and enhancement (Textual enhancement, TE) technique helps learners to perceive and acquire target features implicitly. Previous studies explored the efficacy of computer-assisted TE interventions in Second Language Acquisition with diverse techniques, but animation has not yet been sufficiently taken into consideration. In this paper, we developed an animation-based TE intervention to promote the primary school children' acquisition of the linguistic features of English question sentences. The results suggested that learners in experimental group improved their performances in producing questions and statements with a large effect size, as they were found to spontaneously put extra efforts in exploring the related knowledge of the visually enhanced forms. The study presumed that the animation-based TE intervention would stimulate participants' awareness and curiosity of the target forms, which consequently led to improved performance in tasks both involving precursor knowledge and newly acquired knowledge. [ABSTRACT FROM AUTHOR]

The paper raises a number of issues regarding the synthesis of art, its implementation in cinematography, and the role of music in these processes. The importance of combining music with other forms of art was substantiated by Richard Wagner in his theoretical works. He also used these ideas in his composing practice, in particular for creating music dramas that later changed the perception of the possible influence of the synthesis of arts on the audience. The synthesis of music with the other forms of art developed, and, at present, it often becomes the foundation of composers' creativity: it enables increasing the level of intercultural communication, promotes the emergence of new genres, styles, and trends in art, creates conditions for updating compositional techniques, contributes to increasing the audience of mass art events. The role of music is also crucial in cinematography, which as a synthetic form of art incorporates many ideas about the interaction of arts articulated by the German composer. It is not a coincidence that R. Wagner's music is actively used in cinematography as a powerful structuring component for the realization of the director's idea. As a result of the study, the ideas of the interaction of different forms of art were outlined, as well as their impact on the audience and the role of music in this process, previously publicized by R. Wagner and implemented in his works, and later on in the practice of cinematography. The music by the German composer features prominently in the practice of interaction between the visuals and the musical component in filmmaking because by its nature it corresponds with many functions of music in cinema, has a high level of emotional and sensual expressiveness, and emotionally reinforces the visuals of the screen work. Cinematography as a synthetic form of art goes in line with R. Wagner's ideas about the unity of art forms and, at the same time, with the needs of 19th-20th-century society that are still relevant today. Characteristic features of cinema--spectacularity, scale, prolongation in time-space coordinates, ability to express the idea of myth-making and its embodiment in perfect visual forms--enable using the unity of music and visuals in the overall dramaturgy of the film. [ABSTRACT FROM AUTHOR]

The expansion observed, in the last half-century, in the theorisation of intelligence activity has magnetically attracted the need for an ethical topography of intelligence services' behaviour and states. Drawing on the fundamental concepts and theories of this discipline, the article applies a complex evaluation grid to a recent case, subsumed within a less popularized operation in the history of the intelligence service of communist Romania. By accumulating evidence from open sources, books, studies and corroborating all available records in declassified archives, the paper presumes that the investigations and measures undertaken by the State Security Department (Securitate) in the sphere of the cinematographic environment are suitable for an analysis from an ethical angle. Attempting to answer some fundamental ethical questions, the article includes a brief presentation of the main theories in the field of intelligence ethics, followed by a historical illustration of the main milestones in the issues addressed, during Ceauşescu's rule (1965-1989). Then, the combination of the two results in the ethical judgement, which is the fundamental subject of the article. The ethical perspective is enriched by the author's proposal of a theoretical model for evaluating and deciphering the case under inspection. The model has an adjuvant role and does not imply its dissociation from the pre-existing theoretical foundation. Its purpose is to contextualise the ethical interpretation and create a scale applicable to the subjects and facts examined. [ABSTRACT FROM AUTHOR]

Copyright of HUM: Journal of the Faculty of Arts at the University of Mostar is the property of University of Mostar, Faculty of Arts and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Journal of American Studies of Turkey (JAST) is the property of Journal of American Studies of Turkey (JAST) and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Marble extraction in the Italian Apuan Alps has been known since Roman times, and its historical importance is symbolized by masterpieces of Western art history. However, the Carrara marble industry has recently received harsh criticism for operating in the protected area of the Apuan Alps Regional Park, recognized by UNESCO since 2015. Environmental and social concerns about mining have arisen from the extreme acceleration of all the productive phases of the extractive industry. From the mid-twentieth century, the exploitation of geological deposits of marble grew exponentially thanks to the development of powerful extraction technologies and a global export economy that creates only relatively few occupations in Carrara. Within this context, photographic and cinematographic projects have increasingly focused on the environmental risks created by the marble mining industry. This article shows how visual representations of Carrara have changed in recent years via an analysis of three case studies: the internationally acclaimed documentary Anthropocene: The Human Epoch (2018), the climbing project and Italian short film Carie (Cavity 2019), and Lorenzo Shoubridge's naturalistic photographs in Apuane: terre selvagge (Apuan Wildlands 2018). These case studies offer an innovative perspective on the landscapes of marble extraction. Previously, these landscapes were represented following other visual trends emphasizing the technological sublime found in the geometric shapes of the white quarries, the working conditions of marble laborers, and the myth of the purity of marble used in artistic sculptures. The three examples analyzed in this paper attempt to go 'beyond the whiteness' by focusing on the scale of environmental destruction (Anthropocene: The Human Epoch), the more-thanhuman perspective (Apuane terre selvagge), and the social struggle for preserving a mountain region through creative solutions (Carie). In other words, new aesthetic and ethical sensibilities are challenging established twentieth-century narratives of the Carrara marble quarries by focusing on a new element: the environment. [ABSTRACT FROM AUTHOR]

Copyright of HORIZONTE: Revista de Estudos de Teologia e Ciências da Religião is the property of HORIZONTE: Revista de Estudos de Teologia e Ciencias da Religiao and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

With the advancement of technology, more and more new genres of audio-visual art are emerging. Audio-visual is defined as the relationship between different disciplines. In Western art history, audio-visual art is identified with media art and digital art. A characteristic feature of audio-visual art is the ability to synthesize virtual reality. The purpose of this work is to define the determinants and study modern genres of audio-visual art. The main methods of scientific knowledge in this work are the dialectical method, the historical method, the method of classification, methods of synthesis and analysis, as well as a theoretical review of the literature. The article explores the concepts of audiovisuality, audio-visual art and new genres of modern audio-visual art. The following genres were considered: extended cinema and video mapping. The place of modern cinema in the space of audio-visual culture is also considered. The practical significance of this work is that the determinants and modern genres of audio-visual art were considered. The information represented in this paper can be useful for students and teachers of cultural studies and art critics. [ABSTRACT FROM AUTHOR]

Copyright of Oceánide is the property of Spanish Society for the Study of Popular Culture (SELICUP) and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

In November 2022, The S Word symposium was hosted at DAMU, Prague, under the title 'Stanislavsky's Last Words'. Bella Merlin conducted a practical workshop on the 'constant state of inner improvisation' that underpins Stanislavsky's final rehearsal practice, Active Analysis, along with the vital role of 'dynamic listening' between actors. This paper is an account of that workshop, writing in an autoethnographic style and taking the reader through the improvisations and exercises as if present at the workshop. Merlin notes her training in Active Analysis at the State Institute of Cinematography, Moscow, in the early 1990s and her book Beyond Stanislavsky: The Psycho-Physical Approach to Acting (NHB 2001) as arguably the first hands-on account of Active Analysis in the UK. The 'line of thought' (discovered through textual analysis) and the 'line of action' (discovered through improvisations) link together to create a production through the process of Active Analysis. Stanislavsky's tools of the 'six fundamental questions', 'grasp', 'objectives' (or problems and tasks), and the essential feeling of 'now, today, here' as the raw material for creating roles are explored, along with identifying the scene's main 'event' and uncovering a simple 'score of physical actions'. The dramatic dialogue used is an open scene from Dave Kost's Books of Sides II (Routledge 2017). The overarching tool for the workshop is obshcheniye: community or 'communion'. [ABSTRACT FROM AUTHOR]

Copyright of Social Sciences & Humanities Studies / Društvene i Humanističke Studije (DHS) is the property of Faculty of Humanities & Social Sciences, University of Tuzla and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Film was one of the new technological inventions of the 'long nineteenth century' that often instilled a fear of loss of the existing way of life and of disturbing existing social structures. In India, this manifested in a variety of ways, such as through the censorship of films by the government, but also by social codes which created major barriers for many to work in the film industry. In this article, I discuss film and its negotiations with caste in the twentieth century through close reading of the Indian Cinematograph Committee Report, film magazines, advertisements, audience responses and the speeches of nationalist leaders. I argue that rather than democratising desire by producing the universally desirable object of the star body, popular films in India produced desire that conformed to existing caste structures. The paper contributes to debates about early cinema and caste beyond the question of representation. [ABSTRACT FROM AUTHOR]

This essay explores the eco-developing project Metarretratos by Mexican filmmaker Azucena Losana, addressing it in the context of a set of cinematic gestures concerned with the environmental impact of film. Focusing particularly on the film Ceibo/Erythrina crista-galli, the article argues that the series contributes to the three main axes that characterize academic debates about film and environmental concerns: a) with regard to cinematographic modes of production, b) concerning the thematization of the more-than-human and its relationships with humans and the environment, and c) with reference to the understanding of images as matter and imagination as action in the world. As part of a broader movement searching for less environmentally harmful film-developing solutions, the Metarretratos series has the particularity of experimenting with the chemical and curative properties of native plants from South America. Additionally, it depicts the plants/trees used in the developing recipe, foregrounding vegetal worlds as protagonists. Specifically, this paper discusses how Ceibo/Erythrina crista-galli engages with the healing properties of plants, drawing from indigenous knowledge systems and the philosophy of vegetal life. It explores the botanical significance of the Ceibo tree depicted in the film, as it exists in a particular soil and geography, the Plaza de Mayo in Buenos Aires, while simultaneously communicating with the spatialities and temporalities that exceed it. I suggest that what the eco-developing project reveals -- reveal being the Spanish word for develop -- is the very agency of both cinematic and vegetal matter in the creation of forms, images, and the world itself, exposing the inseparability of nature and technology. The cinematic dispositif that Metarretratos involves, we may speculate, is affected by the curative properties of the plants used; it seems to accommodate, translate, and transpose these qualities beyond itself, functioning as part of a curative mechanism of eco-traumatic aspects of landscapes. [ABSTRACT FROM AUTHOR]

Copyright of Bulletin of Ablai Khan KazUIRandWL: Series 'Philological sciences' is the property of Kazakh Ablai Khan University of International Relations & World Languages and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The article discusses the significance of establishing a cinematographic museum or depository in Paris, France that houses historical cinematography. Animated photography is expected to become an agreeable method of studying the past for it will provide a direct view of the past. Furthermore, it will turn to a singularly efficacious teaching process. It is stated that cinematographic print which portrays thousand negatives making up a scene is not a mere historic document but a piece of history. Considering all these importance, cinematographic prints should have a section in a museum, shelf in a library and a cabinet in archives.

Copyright of Revista Anagramas is the property of Editorial Universidad de Medellin and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Semiotics is the contemporary science able to highlight the relations of communication and signification in the cultural processes. The semiotic analysis can be applied in many fields, even in hairstyle. Hairstyles are not only representations of a beauty ideal, but also non-verbal signs that give a lot of information about a person, signs that are decoded by a society. The hairstyle is a symbol that relates to the values, to the systems of knowledge and to the utilitary functions of a culture. Cinematography and advertising represent communication systems based on the iconic and verbal discourse, in which hairstyle plays an important role from a semiotic point of view. By image and word, the movies and the advertisements create new languages based on denotation and connotation. In the last part of the paper, we will analyse the hairstyles of some movie characters from a semiotic point of view, in order to show that the hairstyle illustrates the identity, the social status, the personality and the psychological aspects of the played character. The hairstyle can be analysed from an interdisciplinary perspective, as semiotics is tightly bound to other disciplines, such as linguistics, aesthetics, sociology, anthropology, psychology [ABSTRACT FROM AUTHOR]

This paper explores the idea of film as a medium that has been used to celebrate, develop and ultimately sustain cultural traditions in an age of globalization and technological and cultural change. It borrows ideas from the sector of heritage, namely intangible cultural heritage, and uses this to offer a framework for understanding the work of two key mid 20th century film directors, Jean Renoir and Yasujiro Ozu. Through a detailed analysis of the cinematography employed by both directors, their use of architectural space and the cultural traditions that they drew heavily upon, it explores examples how both directors used film as a medium for the reutilization of their particular cultural artistic traditions in a contemporary setting. [ABSTRACT FROM AUTHOR]

The emerging field of monster studies has witnessed significant contributions in the functions of monsters in the representations of human stories. In spite of the different creative discourses in this new field, the cultural aesthetics and the strategic polemics of monsters in African stories have largely remained unengaged. Drawing from recent development in monster theories and the cinematic presence of monsters in Nollywood movies, the paper interrogates the cultural aesthetics, ethno-polemics, and the moral constructs of monsters in Nollywood movies. Specifically, monsters in Nollywood movies are not only the cultural equivalents of the aliens and extraterrestrial creatures of Hollywood movies, but they occupied strategic importance in the mapping of deviant characters, ethics, theodicy and the constructs of the "ethnic other." Through explorative method, the paper engages common cinematic motifs, social characterizations, and cultural polemics of monsters in Nollywood cinematography, thus providing new insights to the new field of monster studies. [ABSTRACT FROM AUTHOR]

The article deals with the way Bratislava was portrayed in Slovak films with urban settings produced in the first decade of the 21st century and shows how these portrayals changed over this period. Methodologically, the article is based on basic heuristics, i.e. on the analysis of the films themselves. The aim of the paper is to provide a general overview rather than an in-depth analysis of individual pieces. The author draws on her previous research in the area, especially on her Slovenský film v ére transkulturality [Slovak film in the era of transculturality; 2011]. By widening the corpus, she tests the relevance of concepts used in film studies at the turn of the millennia ("lifestyle urban film", "non-places", "supermodernity", "postmodernity") for chosen films. The aim of the paper is to map the portrayals of Bratislava and devise their basic typology, while accentuating the narrative of Slovak cinematography as a series of films reacting to each other, gradually shifting their focus from the historical city centre to the places on the right side of the Danube (e.g. Veľký rešpekt [Big respect], Bratislavafilm) and subsequently to other Slovak regions and towns. [ABSTRACT FROM AUTHOR]

This paper addresses the concept of hypertextuality as a dialogical and relational action between texts, works and authors. Through the selection and analysis of the film trilogy made in Salta province by Argentinian director Lucrecia Martel -"The Swamp" (2001), "The Holy Girl" (2004) and "The Headless Woman" (2008)-, together with data gathering from graphic and audiovisual interviews that were taken to the director, the aim is to draw a course that sheds light and reveals the author's distinctive traces and meeting points, of the possible hypertextual references that take place, not only within Martel's work, but also, in relation to other films or film movements, as well as in relation to literature. This hypertextual dialogue recovers, as a historical archive, the themes, techniques, ethics and aesthetics produced within the cinematographic and literary fields, both nationally and internationally. [ABSTRACT FROM AUTHOR]

This paper shows the contribution of screenwriter Ratko Đurović and director Velimir Stojanović to documentaries and short films in general and not only in Montenegrin cinematography; in fact, this duo was unique as they were reformers of Yugoslav film expression. [ABSTRACT FROM AUTHOR]

Copyright of Arte, Individuo y Sociedad is the property of Universidad Complutense de Madrid and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Visual Review is the property of Eagora Science and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

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Copyright of Journal of Ilahiyat Researches / Ilahiyat Tetkikleri Dergisi is the property of Ataturk University Coordinatorship of Scientific Journals and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)